Album Reviews

Swinging From The Chandelier

Nashville

Smith & Wes'sound

Calling your band Nashville after the capital and largest city of the U.S. state of Tennessee is a sure-fire way to get your band noticed. A wise manoeuvre from the five-piece country outfit from south Trøndelag, Møre and Romsdal in Norway. With Frank Kåre Vangen (vocals), Anders Sinnes (guitar), Steinar Grindheim (bass),Trond Tangvik (drums) and Rune Sildnes (keyboards) producing the goods for their third album ‘Swinging From the Chandelier’, which is something of a landmark for Nashville as they celebrate ten years in the music business. It’s not all in a name however, when it comes to this Norwegian country band as Nashville possess a fine knack of writing catchy and melodic tunes that lean towards the commercial end of the country music genre. Nothing wrong with that of course, but sometimes there’s a tendency for such ideas to become a little blurred and samey after a period of time. Having said that, there’s much fun to be heard via the album’s title track, which is a “foot stomping” and carefree country pop number full of recent memories of summer festivities, and one that is followed elsewhere by a memorable rhythm and strong desire for the simple pleasures in life expressed during ‘What I Want’. Likely to be a huge success with country lovin’ folk in this particular part of Scandinavia, Nashville, with their engaging country rock and sense of fun, has the potential to wow American audiences because ‘Swinging From the Chandeliers’ is of a similar ilk to albums produced by America’s major commercial country artists. A shrewd and talented outfit, Nashville can kick back and enjoy their tenth anniversary based on the evidence of their latest LP.

Vagabond Boots (Single)

Arne Benoni & Tone Holen

Arne Benoni Productions

Norwegian country artist Arne Benoni teams up for a duet with fellow country artist Tone Holen for latest single ‘Vagabond Boots’. With this brand new ditty serving as the title for Arne Benoni’s new LP as well, the current single appears to deal with the loneliness experienced after the demise of a relationship and the seemingly endless drift into the unknown as well as thoughts of prospects new; hence the lyrical refrain “Wearing out my vagabond boots” in the hope of “Sidewalks still unknown”. It makes for compelling listening which, coupled with the aching qualities of the music expressed by way of country and rock music via its guitars, ‘Vagabond Boots’ is a moving ballad that stirs the emotions and sounds effortless in its delivery. Such a feat is hardly surprising considering the two Norwegians at the heart of this song and the wealth of experience that they bring. ‘Vagabond Boots’ has found a definite welcome home at Famous Last Words (FLW).

Planet

Rylos

Secret Entertainment

A four-piece unit from Finland, Rylos return with second album ‘Planet’. The band’s sophomore effort follows the success of debut LP ‘Game Theory’, which recently received its official release in China. With changes in personnel happening where Rylos has seen new recruits drafted in and, in particular, drummer Misca Muhli whose story is all the more remarkable due to being blind since birth, the sheer determination of this band is probably enough in its own right to bring them continued success. However, ‘Planet’ is likely to continue such good fortune as the nine tracks on offer reveal a heavier and more aggressive side to Rylos yet links to their earlier work remain present, which will please any loyal followers. Part of the newer touches heard on ‘Planet’ are down to singer Mikko Heino’s former band Doodah where a decision was made to resurrect two of their compositions – ‘Posthuman Power Station’ and ‘Into The Gutter’. Furthermore, the addition of guitarist Mikko Hämäläinen, who was also a member of Doodah, has helped spice up the song writing by applying his skills to the likes of ‘My Capricious Heart’, a song of near epic proportions, as well as writing new material along with Mikko Heino in preparation for Rylo’s third long player. With much variety between the layers of ‘Planet’ (‘Stories’, ‘Space Love’ et al) and songs hinting at concerns of an environmental nature mixed with a general sense of loss, Rylos has managed to remain on course to bring their new album to light as well as looking to the future with a third album already in the works. ‘Planet’ is the sound of a hardworking band and one that is revelling in its current period of creativity.

Hearts On Fire (Single)

KOSAN

Secret Entertainment

Lovingly described as “experienced EDM producers, DJ’s and hermits”, the Finnish partnership of two childhood friends from a remote and rural region of northern Finland, conjure up a sound that is pure 80s pop mixed with heavy use of synths and references to (according to their press bio’) “Italo-disco” or perhaps, more accurately, European electronic music. With this latest release by KOSAN being a double A-side single, it becomes clear why the duo made such a decision considering the strong merits of both tracks. A comparison of the two reveals that ‘Hearts On Fire’ possesses a more up-tempo rhythm made up of bright and shiny synth sounds complete with electronic drums, intermissions of eighties guitar and machinelike vocals. The flipside, ‘Important Nights’, is a slightly more sombre affair that gives the impression of being very reflective with its moodier and late-night tones and, interestingly, for containing a break approximately halfway through that steers this atmospheric electronic piece in what sounds like a change of direction. Very impressive indeed. A strong, two-track single that bodes well for the rest of KOSAN’s journey via electronic synth pop if they so choose to accept this option.

House Of Cards (Single)

Lahayna

Snakehand Records

Having graced the UK Top 40 back in 2007 with their single ‘In The City’ reaching #33, which proved an incredible feat considering the single received no industry support or radio airplay as well as the band remaining unsigned, Lahayna reintroduce themselves in 2017 with a brand new single titled ‘House Of Cards’. One reason for this indie five-piece putting the pieces back together is due to the unfinished business of their debut album remaining unreleased, despite being written and recorded. More significantly, however, the aforementioned single, ‘House Of Cards’ touches on the issue of suicide in young people after songwriter Matt Edun lost a close friend to suicide and therefore a collective decision was made by the band to donate all proceeds from the single to the UK charity PAPYRUS, which serves as a means of prevention and support for all those affected by this issue. By raising awareness to the problem of suicide in young people, ‘House Of Cards’ is also a magnificent piece of work musically, beginning with a gentle guitar intro and the delicate vocals of James ‘J’ Ullman before opening up into a stirring ballad full of melancholy yet beautiful nonetheless as rays of light desperately try their hardest to break through the cracks of sadness expressed throughout. ‘House Of Cards’ is a song to be extremely proud of creatively and, more importantly, for the great service it is providing in its support of such an important charitable organisation. Top marks.

Goodbye Earth

the Harvey Steel show

Safe & Sound Recordings

Is this truly goodbye? Well, quite possibly for the assortment of characters including Trixie Marmalade, Mr Orlando Bloom, and Uncle Beefhart considering he’s a distant relation of the original forefather of the weird-out cauldron of blues, jazz, alternative rock (Yes, only the term hadn’t been coined back then), etc. Of course, let’s not forget the main Space Cats here from Jupiter, who seem keen to head to destinations new but not without leaving a rather terrific parting shot with their brand new album ‘Goodbye Earth’. There are changes afoot with this sophomore effort with the heavy psychedelia from before toned-down, and in place more deliberated efforts such as the beautiful intro ‘Waltz for Yellow Spectral Star’ (Ringo Starr Yellow Submarine is scribbled on the notepad but no resemblance in sound) where guitar and keys combine slowly and steadily building a wall of noise that eventually allows for Kristine Marie Aasvang to apply vocals to the cacophony where one can sense the bags are packed and ready for loading on deck as this ship is heading skywards and deep into space. In order to get there, the Harvey Steel show let the engines ignite and burn brightly via The Doors inspired ‘Hunting Shadows’ where sundried, cracked desert landscapes appear and then close from view in flashes of darkness only to reappear before the exit from Earth looms and then closes its gates for the final time behind wails of feedback. It remains their finest moment and a song to be TRULY proud of. Once in space the intermission kicks in with the delightful sound of ‘If Pigs Could Fly’ that is at once frivolous yet also leaves one to ponder due to the chilling afterthought, “If you think you’re free, there’s no escape possible”. A whole melange of styles clash during ‘Impressionistic Umbrella’ that is (take your pick) part New Wave, part blues and a different take on the Grease soundtrack, if you will, revealing the charming side of this band. Poor old Orlando! A previous single, and more a reflection of what’s wrong with this planet, ‘Orlando Bloom’ throws up society’s wrongdoings whilst playing out in part to a soulful shuffle that is reminiscent of the Mr Soft character that Noel Gallagher famously talked about with regard to a certain Oasis number. Elsewhere, the Harvey Steel show flex their version of the blues, and skilfully so, with the compelling ‘Red Queen Blues’, and then proceed to produce the wonderful jazz turn, ‘Outer Space (part 2) which, unfortunately, is trimmed too short. The final statement arrives by means of ‘Waltz for Trixie Marmalade’ that borrows from Radiohead’s ‘Fitter Happier’ with its synthesized voice that eventually allows the entire contents of ‘Goodbye Earth’ to disappear into the black hole of space with predominantly the sound of jazz leaving its mark. A masterclass in how to combine surrealism with reality and make the whole project gel consistently, the Harvey Steel show has just upped their game. Hopefully, this is not their final statement.

Dancing Killer

Nightstop

Secret Entertainment

We’re clearly in the wrong decade here. New album from 80s stalwart Nightstop with ‘Dancing Killer’, not only revisits the aforementioned decade, but ends up remaining there with an inch perfect recreation of that classic synth sound that provided the backdrop to many films and television series of that period. With Nightstop being classed as a synth/retro wave artist, and one who’s been growing in popularity since 2013, the credits behind this musician include several albums and EPs. Latest album, ‘Dancing Killer’ is the newest addition to that catalogue of music as it continues the retro feel where 80’s synthesizers dominate and create a series of instrumental moods whether blowing a cool icy chill throughout ‘Beast Within’, or more 80s romance than sleaze hinted at by the title ‘Backseat Lover’. The overall feel of the album is one that is obsessed with city nightlife, where you’re likely to find the characters Crockett and Tubbs (Miami Vice) sipping cocktails under the neon glow of a busy nightspot, for example, with the tracks ‘Flesh’ and ‘Ghoul’ the most likely candidates. Weirdly at odds with the current climate of any music scenes right now, but largely part of its appeal, ‘Dancing Killer’ is an album that transports the listener back to a period of music that is genuinely recreated via its 80s instrumental synth sounds.

‘Btwn. 1st & A’

Bodega Sisters

Bodega Sisters Music

BODEGA SISTERS is the new outlet for five musicians from a clutch of other groups such as Gorilla Cult, Haschan Luego, Ave. L and Midvinterblot. With these band members coming together to form a super group if you will, their first official release is a single that is made from the components of shoegaze, krautrock, and 80’s synth pop, and has been given the name ‘Btwn. 1st & A’. The song goes about its business by bringing together the aforementioned genres, and ends up transmitting these combined sounds as a continuous loop of guitars and electronics that gathers pace and glistens brightly in contrast to the (intentionally) dour main vocal. With lyrics reading like poetry and ‘Btwn. 1st & A’ forced to apply the brakes nearing its end where guitars give the impression of sparks flying via its feedback, Bodega Sisters provide much to think about with ‘Btwn. 1st & A’, which can only be a good thing.

Nil and Void (Single)

This Sect

Sect Appeal Records

“Houses have holes to let the air out,” starts lead singer Gøran Karlsvik of Norwegian post-punk band This Sect, deep in the knowledge of the outcome of where his lyrical pen is steering this latest release. A seven-inch pink only vinyl, with the other option a digital download, ‘Nil and Void’ is unlikely to claim any official chart placing such is its cheeriness, but then it wouldn’t be This Sect without a few honest truths sprinkled with cryptic details that will have the Einstein’s among us working overtime until its bitter end. As far as conclusions go, there really is no such thing when it comes to ‘Nil and Void’, more a repeat spin cycle of the vacuous nature of life where human nature passes for empty vessels, accepting their lot and merely passing through time. Thankfully, the driving electronic synth weaving a forceful path through this single, coupled with a watertight tight rhythm section try their hardest to raise the alarm and retaliate against such inertia. Unfortunately, old habits are hard to break. The flipside, ‘Pink in Red’, maintains the high quality levels, offering a calmer intro but one that is shrouded in cold instrumentation until it finds some warmth via a stirring chorus where guitars soar. With their anxieties continuing to take hold and therefore failing to shake that dreaded curse, This Sect continue their struggle against society’s ills by equipping themselves with the tools of their trade, including a raw post-punk sound and a profound use of words. It’s a powerfully effective combination, and one that is deserving of a wider audience.

a – > b

Tatsuro Kojima

Eilean Records

Tatsuro Kojima hails from Japan and has previously recorded two albums via Audiobulb Records in 2012 and 2015. Being a self-taught musician, the ambient creations Tatsuro Kojima produces throughout latest album ‘a – > b’ are suited to such a background where the need for freedom and flexibility are definite requirements where sound creations remain free of any constraints that a more structured and formal education may bring. With Kojima’s sounds being described as “closely connected to his visual approaches,” this is certainly true of ‘a – > b’ where there is a feeling of walking through various scenarios recording the everyday by means of observation and practical techniques developed from field recordings and use of synthesizer and electronics over the years (the recordings found here began in 2011). The album ‘a – > b’ makes for compelling listening and really deserves to be heard for those interested in the finer details of life.

L.A. Sunset (Single)

The Crowleys

Bandcamp

The Crowleys open their account in fine style with the song ‘L.A. Sunset’ that radiates a glorious sound and more than matches the L.A. sunset held in its title. Beginning in a haze of shoegaze guitars that recalls The Cocteau Twins without a shadow of a doubt, the four-piece band from Hamilton, Ontario, proceed in similar fashion only the influences broaden with mainly dreampop and psychedelic references taking hold, yet there are leanings towards surf rock as well. ‘L.A. Sunset’ is the kind of single that is made for those seemingly endless halcyon days of summer, and one that evokes more recent artists MGMT and Empire of the Sun where both achieved similar feats with the kind of sun-kissed indie psychedelic pop that The Crowleys are touting in 2017. Long may these rays of sunshine continue via The Crowleys and their definition of ‘L.A. Sunset’.

Berry & Whythe (Single)

Siv Jakobsen

The Nordic Mellow

Recalling a period in her life when living as a resident in New York City, with the title of the single named after a couple of streets in Brooklyn, Siv Jakobsen issues a new song, and one that is taken from her forthcoming debut album ‘The Nordic Mellow’. The word intimate has often been used to describe Siv Jakobsen’s music, and there is no doubting such a description as the atmosphere given during ‘Berry & Whythe’ is one that is borderline claustrophobic where there is almost no room to breathe such is the closeness of her presence, which gives the impression of being the only witness to the tale being spun here as one is transported back to the bedsit in question Stateside. Top marks, therefore, to not only Siv Jakobsen for creating such a personal touch, but also producer Matt Ingram where both genuinely create a sense of reimagining the relationship that once existed at the centre of this song. With fine threads linking Siv Jakobsen to Joni Mitchell and fellow Norwegian Arne Brun, any such references soon disappear once ‘Berry & Whythe’ takes hold of your senses and keeps you there for the duration of its contents.

About FLW

Famous Last Words (FLW) is a music reviews and interviews-based website situated in Oslo, Norway. The website is international and will focus on the genres of indie, blues, country, folk, rockabilly and rock ‘n’ roll music. Coverage will be given to the latest artists and related scenes, as well as catering for new and established acts who do not receive widespread coverage.